“Philip the presbyter and legate of the Apostolic See said: There is no doubt, and in fact it has been known in all ages, that the holy and most blessed Peter, prince and head of the apostles, pillar of the faith, and foundation of the Catholic Church, received the keys of the kingdom from our Lord Jesus Christ, the Savior and Redeemer of the human race, and that to him was given the power of loosing and binding sins: who down even to today and forever both lives and judges in his successors. The holy and most blessed pope Celestine, according to due order, is his successor and holds his place, and us he sent to supply his place in this holy synod.”
— Council of Ephesus (A.D. 431)

CONTINUALLY struggle to understand the relationship between the treasury of sacred music (specifically the ordinary of the Mass) and Mass celebrated in the Ordinary Form, but a recent conversation with my pastor might shed a small ray of light on the subject from the perspective of the priest.

In our parish, the congregation regularly sings the Mass XVI Kyrie along with a metrical setting of the rest of the Ordinary. However, after the Schola Cantorum returned from Rome last January, the choristers asked me before Mass if they could continue singing all of Mass IX (Cum jubilo), which they had sung at St. Peter’s. I decided it wouldn’t cause too much of a tizzy if the choir sang the Kyrie from Mass IX by themselves, so they sang it for the next few Sundays.

After several weeks the pastor asked me about it and in the nicest way possible told me he really didn’t care for it. I was a little taken aback simply because it was a very minor change to only one Mass of our Sunday Masses. I asked him if he could pinpoint for me what it was specifically about the Kyrie that bothered him in order for me to understand better. Was it the sound of Gregorian chant, or that the congregation couldn’t sing it, or that each invocation was repeated three times? His answer was something I had never thought of before. He told me that he felt extremely awkward standing in the sanctuary for two minutes while the congregation did nothing but look at him. I would be curious to know how this affects other priests.

It is true that in the Ordinary Form of the Mass the priest doesn’t face east during the Kyrie and Gloria, but if the priest were to change the direction of his chair so that he wouldn’t be directly facing the congregation (for example, facing liturgical north), it would help. A choral Sanctus or Agnus Dei might not be so awkward if the priest were facing east during the Eucharistic Prayer. He could even close his eyes and pray.

I realize that the obstacles to celebrating Mass ad orientem and restoring a tradition of good sacred music (both choral and congregational) are varied and numerous and I don’t want to simply a complex problem, but perhaps this is another facet to that problem.

Note from CCW President: The Cathedral in Corpus Christi, Texas, did exactly what Dr. Tappan suggests. The rector rotated the chairs precisely as he describes, and (for the record) it looked a lot better. Moreover, Pope Francis’ chief liturgical officer recently wrote the following:

Contrary to what has sometimes been maintained, it is in full conformity with the conciliar Constitution—indeed, it is entirely fitting—for everyone, priest and congregation, to turn together to the East during the penitential rite, the singing of the Gloria, the orations, and the Eucharistic prayer, in order to express the desire to participate in the work of worship and redemption accomplished by Christ. This practice could well be established in cathedrals, where liturgical life must be exemplary (cf. §41).

Many were surprised by this, because a “rigid” reading of the current Missal would not have the priest facing East for the GLORIA, as far as I know.

Priests have expressed concern about throwing the Word of God into the garbage every few months. The Isaac Jogues Illuminated Missal contains the complete Sunday readings for Years ABC, complete Gradual texts, and magnificent page layouts.

Watershed assisted the Birmingham Oratory with media work leading up to the Papal visit and Beatification of John Henry Cardinal Newman. Our documentary shorts provide online tours of the Oratory, including the Cardinal’s Room and Library as well as the parish church and its chapels.

St. Jennings was executed for being a Catholic priest. Seized whilst in the act of saying Mass in the house of St. Swithun Wells, he was hanged, drawn and quartered outside the same house. His execution was particularly bloody. St. Swithun Wells was hanged immediately afterwards.

This new Gregorian Chant Mass (with optional organ accompaniment) uses the new ICEL translation of the Roman Missal. We provide free practice videos, vocalist scores in modern and Gregorian notation, congregational booklets, and much more!

Kevin Allen's brilliant new SATB collection of twelve (12) Sacred Motets that can be used all throughout the Liturgical year. 144 Practice videos by Matthew J. Curtis. Optional Psalm tones written out for each piece, in Latin & English.

Here is a newly-composed Gregorian Chant GLORIA in honor of Saint Edmund Arrowsmith (†1628). Please feel free to download the PDF organist scores, PDF vocalist scores (in both Modern and Gregorian notation). This setting uses the new ICEL translation of the Roman Missal.

A 70-page collection of polyphonic Motets that can be sung by the average parish choir! Although the pieces were designed for SSA or TTB choirs, they also work well for mixed choirs. Matthew has also recorded 56 free practice videos to help your choir members learn these beautiful pieces.

Glory to God in the highest, and on earth peace to people of good will. We praise you, we bless you, we adore you, we glorify you, we give you thanks for your great glory, Lord God, heavenly King, O God, almighty Father . . .

If you have an SATB choir that would love a brand new collection of dignified, beautiful, not-too-difficult motets, you need to check out Kevin Allen's "Cantiones Sacrae Simplices." Vocal phenomenon Matthew J. Curtis has also recorded more than 144 practice videos which carefully instruct singers who do not read music well. All 144 training videos are free!

Watershed assisted the Birmingham Oratory with media work leading up to the Papal visit and Beatification of John Henry Cardinal Newman. Our documentary shorts provide online tours of the Oratory, including the Cardinal’s Room and Library as well as the parish church and its chapels.

Distinguished composer Kevin Allen has set twelve Eucharistic Motets for three voices. Although the pieces were designed for SSA or TTB choirs, they also work well for mixed choirs, and a special transposition table has been included for the ease of the choirmaster. Choirmasters and singers will appreciate the fact that these pieces are not difficult to sing.

An hour-long documentary on Sacred Music. Watershed's cameras take you inside the 19th annual Sacred Music Colloquium, sponsored by the Church Music Association of America. The DVD includes a 45-minute, never-before-seen interview with Dr. William Mahrt, CMAA President & Stanford Professor.

The Rt. Rev'd Dom Hervé Courau, Abbat of Notre Dame de Triors, has authorised Watershed to post the Community's Gregorian chant recordings on our sites. For this gracious permission, sincere thanks to Father Abbat, also in the name of all those chanters who will profit from studying these beautiful sung prayers of the Church.

John Henry Newman was born in London (2/21/1801) and died in Birmingham (8/11/1890). As Vicar of St Mary’s Oxford he exerted a profound spiritual influence on the Church of England. Through his extensive published writings and private correspondence he created a greater understanding of the Catholic Church.

This is part of our ongoing Liturgical work, and we are grateful to the many guest composers who generously donate their scores. In addition, we offer free resources for all the other parts of the Mass, and currently provide more than 6,000 free Liturgical scores.

Kevin Allen's world-famous SATB "Tantum Ergo" is now in print. This piece has been enjoyed by many thousands of people, and is featured as the opening piece on "Sacred, Beautiful, & Universal: Colloquium XIX." Corpus Christi Watershed is proud to offer this Motet, along with fourteen other beautiful Motets, in "Cantiones Sacrae II."

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